Premiere Pro Masterclass Module 6 - Color Correction

1. Intro to Module 6: Welcome to the Adobe premiere Pro Masterclass module Number six. This module is all about color correction. We're going to be learning how to use the loo metric color effect and panel using color scopes to make sure that our colors are correct. Also giving our video a great a color. Great a feeling with color. You'll even have some practice exercises to fix exposure and white balance right within Premiere Pro. The practice files for you to follow along with and work on while we're learning are in the project tab of the skill shark course. And as always, I encourage you to enroll in all of the other modules of this course by clicking through the link on the course description or by searching for Adobe premiere pro masterclass on skill share. 2. Color Correction with Lumetri Color: Adobe premiere Pro Creative Cloud came out with a brand new color corrector that's very powerful. And for most projects that you'll need to do, you can use it rather than taking your projects into another external third party color corrector or one of adobes. So I imported this full resolution video interview clip so that I can color correct this video rather than this one that we have been using because this one's very small, and I want you to see the full effects with this one so you can still add it. Your clips just the same way. I'm just going to do it with my full rides clip by adding it to a brand new sequence. So here we have this clip brand new sequence. When I do color correction, I just try to find a spot that looks normal. So for this, it's General. It's fairly easy because it's just a interviews clip. But if you're taking video somewhere else and you need to edit that video, find the spot in your clip. That is the main part, the main action. First, we have to open up the Lou Metric Color and Lou Metarie scopes, Windows so go upto window, open up blue metric color and Lou mattress scopes, and I like just putting my scopes up here in where my source monitor is. Then I'll make my preview monitor just a bit bigger so that I can seem or what's going on. Maybe make this a little bit smaller, so we get a nice big shot to work with. Over here is our Lou Metric color panel, and I'm going to walk through everything over here. But it's important to understand what's going on over here as well. This is a color scope, and it's showing us all of the different colors that are happening in our video clip and how bright or dark, the luminous of them. So at zero, this is all black at 100. This is all white, and I'm quickly going to jump over here on the right hand side and show you when you play with this exposures lighter, you can click any of these sliders and drag left or right. You can see what happens to the scope on the left. By the end of this, we're going to have it going from about 0 to 100 All right, let's jump over to the loo metric color panel. Don't get intimidated. We will have through everything, and this is going to be a bit longer of a lesson. So bear with me. The first thing to note are that there's different tabs in here, so the basic correction tab is open already. But you can just click up in the title area to the right of the title of the tap to open it up. So we have basic correction, creative color, corrections curves, color wheels and a vignette tub. Let's start with the basic correction. The first thing they have is this input luck or look up table. We're gonna skip that for now, but we'll go over that in another lesson. The next is the white balance. The white balance first slider is temperature. Sliding to the left will make your video more cool. More blue flighting to the right will make it more warm, more orange. You can double click anywhere within this slider if you move it up to the right or left to get it back to zero, or you can click on the number over there. Dial in a very specific number or set it back to zero. With the tent, you're adding more green or magenta. Sometimes you might shoot, and things might look a little too pink to red. You could dial it back. Or maybe it's too green. Or maybe you want it to look more green or magenta pinkish below. This is the tone, and I'm going to close the white balance just so you can see what we still have to go through. All of these sliders effect the exposure of your clip or an area of exposure. The exposures letter makes the entire image every part of it brighter or darker. The contrast lighter makes it more contrast. E meaning. The darks become darker and the lights become lighter and you could see over here on the scopes what's happening. With more contrast, this graph spreads out with less contrast. It contracts. These next four sliders adjust individual parts of the image, just the highlights. So just the sort of brighter parts of your image, just the shadows. So just see here in this image, just his beard, the chair, this camera right here. The whites will adjust just the almost over exposed parts of the image. So if your video is a bit overexposed, you can use the white slider to dial it back in just a bit. And the blacks will make the darkest part of your image darker or brighter. So let's go through this image to see what I would do first. I'm just going to bring down the shadows practically the whole way. Unless this is all going at zero, I'm going to bring it down all the way, especially when shooting raw footage with the blacks. I'm going to bring it down. I'm not going toe. Bring about down too much. But maybe around there. So the highlights. I'm going to bring up just a little bit and the whites just a little bit more. That's looking pretty good. Maybe I'll play with contrast just a little bit. Just get that graph looking a little bit better. So all the whites up here, all the darks down here. But he's looking so pale right now, and that's because our saturation isn't there. So this next lighter is saturation, so this will make it more or less saturated, so the slider goes up to 200 but you can type in numbers higher than 200. And I think I have to do this for this same. And just because it is so de saturated and you might want to have someone else double check your work, you definitely want to look away from your computer from time to time that your eyes don't trick you into thinking that this saturation is perfect because sometimes you'll be working on this and then you come back to it a day later and you're like, Wow, why was this guy so saturated or so warm? I think the exposure overall is just a bit hot, so I'm just gonna go down 0.1, maybe Native Point to. And then when I do that, I'm going to bring up the blacks just a little bit because I see there. There's a lot of blacks coming right here at the zero. That means if it's that zero, there's literally new information that we're getting from that black. It's just black. There's no color, so I'm going to bring up the blacks just a little bit. That's looking pretty good. I might come back toe white balance, bring up the warmth, just a hair, maybe a little bit more magenta, something like that, and we can preview this and turn it on or off by just this check box right here before, after before, After It's so crazy. Look how different that is. We've been looking at this image the whole time, but this is actually what it looks like. This is the corrected form of this video, so that's the basic correction tab. Let's move on to Creative. You can do some of the same things in the creative tab, like jumping down here. We can see the saturation. Vibrance will increase the saturation of blues and greens, but not so much the yellows and the reds and the browns, so that skin tones will actually stay more natural while the rest of the image gets a little bit more vibrant. That's a good way to odd saturation to your clip when the you don't want to add saturation to everything, because when I add saturation like this, he looks a little bit too orange, a little bit too pink. But when I'm just adding vibrance is the blues at the backgrounds that get, the more color more saturated and that looks better sharpening moving up will try to sharpen your image. So if something's completely out of focus, it's not going to make it in focus. But it will make the edges of objects like the edges of his eyes, just a little bit more sharp. And we can zoom in here if we want. Move around so we get to his eyes. And if it is a little bit soft, increasing the sharpness will make things look like they're a little bit more and focus. But you have to be careful. Adding a ton of sharpness will add a little bit of digital noise or grain to the image, so don't go too crazy with it. Faded film. This is just kind of a cool effect. A lot of people are doing it. If you've seen a Samsung commercial, it actually turns it mawr into that neutral look that very faded, de saturated neutral Look, it's more of a stylistic option. I'm going to reset all of these sliders so that we can look at these looks, So looks are presets that Adobe Premiere Pro has come up with. We can preview them by talking through them with the left and right arrow over here. And if there's one that we're happy with, you can see these ones don't look too good, but you have some black and white ones, and we can adjust these later on. Say, we want this retro brown weaken. Double click it. It applies it to our video. And then maybe we go back into our basic corrections, and we play with the these the shadows and the contrast so that it looks a little bit more natural. You probably want to go through and add your creative looks before you do your basic corrections. I sometimes use these looks, but for most of you you're probably going to be shooting your footage on a DSLR camera or even a smartphone or a webcam that is already a compressed video and adding a creative look to it might not look good, and you might start to get sort of digital artifacts that that look funny for your video. Use looks when you're shooting with raw or very high quality neutral footage. The last thing and creative is the shadow tint in the highlight tint. If we want to change the tint of the colors, the darks, we can do that. So all the darks are getting more blue or more green or more yellow. And then with the highlights, it does the same thing. But for the highlights. So the highlights. The whites, the brights get more blue or pink, more red, and then we can adjust the balance. So the tent balance going more towards the highlights or more towards the shadow balance. I typically don't do this, but you can get pretty creative with it. Next is the curves. I'm going to turn off the basic correction so we can see what the curve does. The curve odds contrast, and it also effects the exposure of your video. There's this line here, and if we click in the line and drag up or down, you can see that it increases or decreases the video exposure on the left. You have your darks on the right. You have your highlights. So if we put this point here on the left, bring it down. That's decreasing the darks on the right. We put a point and Deke increase it. That's increasing the right, the white. So this s shaped curve. You might have heard of that. See, the ass that is adding contrast. When you do the opposite oven s it gets very faded and d contrast it very flat Right now, I'm editing all of the colors in this video. Sees this white selected. That's what that means. But if I just want to edit the blues, the greens or the Reds, I can click the red curve. I can increase the Reds or decrease the Reds when I decrease reds, you Seymour greens and blues. But if I want to go in and just just the greens, I click that and dropped on the greens. If I want taken, bring in the blues and bring up the blues or bring down the blues and you can see that this affects the video in an interesting way, going to reset all of these just by going to each one and double clicking on the line. And then I'm going to turn back my basic corrections on underneath the RGB curves, we have this hue saturation curve. What this does is on this curve or on this circle. We have all of the colors, and we can increase or decrease the saturation of specific colors. So if we click on the circle ones and then decrease or increase the circle. It just increases or decreases the saturation. But let's see what happens when I click a couple times say, click here. Then I click here than in the middle. I can decrease the saturation of just the blues. So now all the blues in his shirt are de saturated. If I go in here and do another one with some of these greens and yellows again, decrease off the yellows and the greens. If you click one of these color options down here, it will priest select those colors for you. So say we want to de saturate the yellows. Weaken. Click there, drop the yellows we want the reds to you can drop down the Reds. If we want everything between red and yellow, we can then take thes down here. So now we just have the blues for an interview. This doesn't look good, but if you want to get creative, if you have a picture of a bright red rose in the middle of a green field, you might want to de saturate all of the green. So you just have that read in your image and everything else is de saturated. Let's move on to the color wheels. This is how you can adjust the exposure in the tent of specific parts of your image. Just the shadows. The mid tones are the highlights, so if we just want to affect the shadows, we can take the slider down or up and again. That's just increasing or decreasing the exposure. And then we can take this color slider in here, the color picker and dragged to the left or right, and we can make the shadows more red or more blue or whatever color you want. It's similar to under Creative, the Shadow Tent and Highlight Tent. Now you have more options, though, with shadows, men, tones and highlights. I rarely use this, lastly, is the vignette, and this is something that you might use more of its something to use sparingly. Don't put it on all of your videos, but when you want to draw the viewers attention into whatever is in the middle of your frame, it is a good trick to use with this amount. Slider weaken, drag to the left to create a dark vignette or to the right to create a white vignette. Typically, you see darker vignettes. The midpoint will make the size of the vignette smaller or larger, and the round is will make it more round or more square. So if I make this all the way around an increase the amount and then I decrease the midpoint, you can see more that this is a square like been yet. I typically like something a little bit more around, though. And then feathering is how it transitions from dark to not being a vignette anymore. So a hardline like so with the feather at zero or a very soft, subtle feed, I tend to like a more subtle fade. Right now, it's hard to tell what I did. But if I turn this on and off, you can see the difference between having a vignette and not having a vignette. If you want, you can copy and paste, and you should copy and pace the loo. Metric color settings from one clip to the next. So say we want to copy the settings I made for this clip to our other project are other sequence. What I can do is go to this clip. Goto effects controls and you see here this lou metric color effect is now on our video clip. You could even go to these different settings. The basic color correction, the creative curves all over here. But it's a lot easier with this Lou Metric color panel. Select this effect. Copy it by pressing command C on your keyboard or control. See if you're on a PC, then go to the clip that you want to add it to. So for me, I'm going to add it to this clip right here and paste it. Command V that pasted onto this clip. And now this clip looks color. Correct. It looks a lot better. It does have a little bit of style to it. That's the grading part of it. You might have heard color correction and color grading before color correction is getting it back to normal. What it naturally looks like to the human eye color grading. It gives it a little bit of an effect, so you can see here we have that vignette. That's definitely a grading tool. We might have made it a little bit more warm. That's a grating tool. The sharpness, the different color any of those color effects we're talking about. If you do those those air more grading features. If you have any questions about the loo metric color panel, please let us know we will be going over the input lutz or the look up table tables in just a second. But for now, go head and practice and play around with the loo metric color panel on your own. Thanks, and we'll see you then. 3. EXERCISE: Fix Bad White Balance: welcome to a practice activity for the course. This is a check in to make sure that you are following along, understanding what's going on. There's a zip file in this lesson that you could download, and it contains some video clips and a Premiere pro project file that you can actually go ahead and open up. It has three sequences that we're going to be working on and the video clips go ahead and open up the white balance project. That's what we're going to be working on right now are the sequence and the challenge is how do we fix the white balance for the shot? It was shot wrong, Lee and the white balance is off, but it's a little bit difficult because there's a lot of blue in this photo anyways. Or this video. Rather, we got the blue elephant blue, they cups and vases. So the task is to fix the white balance, and I'm actually going to let you do it first, and then I'm going to come back and do it myself, and we can compare if you did it right. Wrong if you did a different way. So go ahead and download the project files go through, fixed the white balance, and then we're going to come back and I'm going to show you how I did it. And I'm going to give you a little bit of a tip on editing white balance in Premiere Pro to make it easier for you. 4. EXERCISE REVIEW: Fix the White Balance of a Shot: Okay, so hopefully you took action. You did it. I'm wondering if you did the same way that I would do it simply by clicking on the clip, opening up your loo metric color panel and dragging up the temperature slot Slatter until it looked good. So if we do this, we can kind of address it by our eyes to see if it's fixed or not. That's generally going to be okay, but let me give you a quick tip on how to do this an even better way, or at least a double. Check your work. Let's actually get a pure white shape layer, so you could either do it with a title or just by going to the new item button and creating a color Matt, that is white. I'm going to call it White and just place it on top of our video, double click it in our program monitor and move it over to the side. Now the reason I'm doing this is so that I can compare the white from the video to the white of this pure white layer, and what I see is the white or what's supposed to be white, which is this little cup right here, and I know that's supposed to be pure white, because I see it. I shot this and it's not supposed to look. Orange is not supposed to look blue. It's white. It's a little bit orangish, though, and I think that's because on our temperatures lighter, we went a little bit too far. So let's dial back the temperature slider until we think that it matches this white and it's a little bit difficult because this is darker than the pure white. So for now, we can boost the exposure and the highlights just a little bit. And if we do that until it's about the same brightness as this white clip weaken, see that it's still a little bit orange. So I'm going to bring it back just a little bit something right there, boost exposure, bring it back just a little bit. See if we boost exposure all the way, then we can kind of try to match it. But this only works if you have white in your image. So now if we go back, we adjust our highlights, double clicking those two sliders to set them 20 turn off our white layer. We can see that. Yeah, it still looks a little blue, but this is actually the right white balance. And if we turn this off and on, you can see that turning it off it does get more blue, and that definitely isn't right. But with it on, I think it's a little it's It's better than what we had before. We might want to just give it a touch above just to see what that looks like if it feels better to you. But because this has so much blue in this image, it is difficult to color. Correct this this clip. But this is actually better than it was before up here because this is actually a little bit too orange. So that's how I would color correct this clip. If you have any other ways or any other questions, please send them my way. I would love to share them with the class if you have some other ideas of how to correct this white balance. And anyways, I hope you enjoy this practice activity. There's going to be mawr coming up in the next few lessons and sections 5. Color Correcting Raw Footage - Add LUTs to Video: Let's talk about let's or look up tables. Basically, you can think of a let as a filter that you add to raw footage to make it look more natural . And the reason we shoot like this is it actually gives us more room toe edit Later on, take a look at this shot. This shot was shot with an Osmo camera, which already is contrast ID. It's already saturated, and when we bring it in and we want to manipulate the colors, maybe at a grade to it, it doesn't have enough as much room to be able to add it. It What do I mean by room? I mean, I can't bring up the darks if, if things are too dark and too under exposed, I can't just use the black slider to actually make it brighter. It's going to look funny really quick and same with if things are over, exposed into brights. I can't just bring down the white and make it look more natural. You can, to some extent, because with this image, because it's not too overexposed. But in general you're not going to have as much playing room to adjust the colors When I have this raw shot of the interview completely flat. I can do all kinds of things with the color, but back to look up tables. A Lut, when you are shooting will actually put a filter on the viewer. So when you're looking through your viewfinder, you can see what it looks like more naturally, rather than watching a raw image while your record and then when you're editing, it's a good step towards the final color correction. Sometime the let is your final color correction. But for many of us, it's just a starting point. Adobe Premiere Pro already has a number of lutz that match different cameras, so they have Canon seven D. They have the area, Lexa. They have GoPro Nikon s log for Sony. They have these different profiles, and when you go through them, some of them start to make this footage look a little bit better. Some of them don't and the reason is because these settings are made for that specific camera. You can also find some online. And that's one of the ones that I have added in. The resource is. So if you dropped on this menu and you click browse. And then in that l U T s filed the let's file. You see this one right here? You can click on that and select open, and that's going to apply this let to this image, which gives it a more natural look on off on off. So some people might be happy with this for me. I might want to add some more contrast, making the shadows a little bit darker. And if we look at the scopes, we still see that the darks aren't down as low as I want. So I might want to bring down the blacks, bring down the shadows just a bit, maybe warm it up, even warming up and give it a little bit more saturation. That, to me, looks a little bit more natural than just with the let on. Or, of course, without the let. So think of the letter as a filter that you put on rock footage to speed up the color correcting process. If you have any questions, please let me know if you have specific cameras that you're looking for. Look up tables for just search on Google. Sony A seven s to let Sometimes there's paid options. But a lot of times there are free Lutz that you can use and download. Thanks for watching, and we'll see you in another lesson. 6. Color Correction with Adjustment Layers: in this video, I want to show you how to color cracked with adjustment layers. It's an easy way to apply the same color correction to multiple clips in your video sequence. Right now we have all these clips of Anthony speaking, and I could go and copy this lou metric color effect and select all of the interview clips on my timeline and paste it. But maybe later on I might make a small adjustment to the the saturation or to the contrasts, as I see necessary. Then I would have to go through and edit it for all of the different clips. And Easier Way is with an adjustment layer. So we need a track between our interview here and the rest of this B roll and the titles up here. So I'm going to select all of these titles and the B roll just by selecting, and I'm going to move it up one track. So now we have this track in between. Then I'm going to go to my project file. I'm going to go to the new item button and go adjustment layer. Select. Okay. And now we have this adjustment layer, and you might want to title it. So you know what it is? We'll say a camera color. So I know that it's the color correction for a camera. Now I'm going to put it right on top and throughout this entire video. Then I'm going to select the actual color correction for this clip right here. Actually, first I have to decide. Am I going to use it from this clip, which I did with the look obtainable or this one, which I did from scratch? They look very similar. Except for this one has have the vignette. So I think I'm going to keep the one from the been yet. I'm actually going toe. Copy it. So select it. Command, See or cut it command X and then paste it on the adjustment layer. Command V Control V. If you're on a PC, then I'm going to go to this next clip right here that had the previous color correction and delete that one. So now none of these clips right here from interview camera A have any color correction on the actual clip itself. This adjustment layer does, though. And if I want to make a change, say I do want to add or decrease the vignette. Say I wanted just decreased the vignette. I can do it right here in the FEC's controls or by opening up the Loom entry color panel. Change it to zero, and it changes. Is it for the entire video in one click without any Coppinger pacing? So I would suggest using adjustment layers when you have interview clips like this when you're editing a narrative film or a documentary with video clips from all kinds of different scenarios. This won't necessarily work from you because the color correction will be different for every clip. But when you're editing, Ah eh, eh, an interview or something where it's the same lighting set up, it's the same exact correction you want to apply to all kinds of clips. Sometimes the adjustment layer will work better. Now you might be asking what happens when I want to use the be tracked down here. We haven't even thought about using this interview be camera, and we can do that by either deleting the A camera. Or maybe I want to cut from the A camera to the B camera. So let's go through this. Maybe I want ugly. You know that doesn't go viral, but it's maybe you right here. I want to cut it to the wide camera. What I can do. I can't just select the A camera and drag in because what happens is the audio gets dragged in as well. I can option select, which allows me to just choose the video of this track and dragon. So now the audio stays there, but then it cuts to the white image. I think the problem is that this adjustment layer isn't perfect for the wide shot. The wide shot settings were a little bit different. So what we can do actually is Let's just open this up just a little bit so I can see more of my timeline. I can add another adjustment layer between my A camera and my B camera and changed the settings for this. Be camera shot. I'm just going to duplicate this a camera adjustment layer right here just by selecting and pressing Command C Command V rename it by pressing return on my keyboard and typing and be camera color and put it right here above the B camera shot. Then I'm going to start out with this loom ITRI color effect that I already added to the A camera. So I'm going to copy that and paste it onto the B camera profile. Then I'm going to delete this adjustment layer where the B camera is shining through with my razor blade tool C on your keyboard if you want to get to that and then V to get back to your selection tool. So now this adjustment layer is affecting all of our B camera. I just have to write in it a little bit, so I'm just going to go down to exposure, set it to zero, maybe even point to something like that. 0.1. Small adjustments. So now waken cut from here to there, three color correction looks the same. The colors look the same in each of these address. Mint layers are affecting all of the video clips for that camera. All the A camera and be camera. If you have any questions, let me know. Otherwise we'll see you in the next video. For now, I want you to actually go through and color correct your footage not only for the interview clips but for any B roll that you've chosen to use 7. EXERCISE: Fix Exposure of 2 Shots: Welcome back to And then through practice activity. This is a fun one. And again, we're stepping back from the course project just to check that you're learning what we're actually teaching. So the activity is we have this sequence for exposure that you downloaded in the previous practice exercise for white balance that contains an under exposed and an overexposed clip of the same shot. It's a little bit off balance is a tiny hair. But the activity is to make these two clips match. We want to basically play it so that you wouldn't even be able to tell the difference. So I'm going toe, let you pause this video, go through the proper practice activity yourself, see what? How you would do it and then come back and I'm going to show you how I would do it. 8. EXERCISE REVIEW: Match Exposure of 2 Shots: okay, so hopefully we were able to figure out how to get these two clips to match. Here's how I would do it. I would first go to my overexposed clip and fix that one to how I like it and then go back to the under, exposed and try to match it to the over exposure rather than trying to do them both at one time. I think it's better to just get one right and then match the other one. So with I'm just gonna go with my timeline indicator right in between the two. And then I could literally just press the left arrow key and then the right arrow key to go back and forth between these two clips and edit them. So with his overexposed clip, I'm going to take the exposure slider and overall, just drop it down. So I think doing that something like that is good. I could try to take my whites down because I want some more detail in that salt. But as you can see, if I do that, even with the highlights, it's not getting any detail back from the salt. And that's an issue with the filming of it. You have to be mindful of the kind of detail you lose when you have an over exposed part of your frame. Sometimes fixing it in post is not an option. So I'm just going to leave that how it is, because I like the contrast when I decrease the white you see and the highlights. You see that I'm losing a lot of that contrast, and I don't like that for this particular shot. So just with the exposure, get it to a spot that you like, negative 1.8. That seems to be perfect for me. Now. I'm just going to go back to my under exposure and try to match it. So first I can just try to match it with the explosion exposures slider. I can increase it and just compare a contrast. What I'm looking at is the wall, so I'm just staring at this part of the wall, going back and forth, trying to get it to match and let's see as soon as I get there, I'll be happy. Something like 1.5, that's pretty darn close. But as I go back and forth, what I notice is the over exposed image has lots of contrast because actually decreasing and overexposed clip will increase contrast while increasing and under exposed clip Well, actually make it less contrast ID and more flat. So first I can take this contrast, slider and just crank this up, crank it up until it looks similar to the amount of contrast in the other clip, that is pretty darn good. I could even go a little bit farther that is looking pretty darn good. There's a couple small things that are different now. And one thing is when I increase the contrast that brought up the highlights or the wall so I can go in here for the under, exposed and actually dial back the wall just a little bit. Something like that is pretty good. And the other thing is, right here. I can tell this kind of is a little bit brighter than this. So the overexpose shot. This coaster stack is a little bit brighter, then on the under exposed image so I can go to my under, exposed and just with the shadows, bring those up just a little bit. The light is just a little bit different, and maybe That's just because of when we were shooting. You know, light might have changed, but that is pretty darn close. If we play through this, aside from you see the cut because there's a change in the position. But if we go here and close these down and out of transition, you would barely be able to tell that there's a difference between those two clips. It's barely anything right there. Let's make this. It crosses all even shorter. That is pretty darn close. The this is still a little bit dark. Bring this back of a touch. Okay, that's I mean, no one's gonna notice that, except for you. You could try to perfect this stuff until you go crazy. But that's pretty good. Hopefully that helps you. Hopefully, that's kind of what you were doing. Hopefully got something as close as I did. If you win about this another way, please let me know. Poster clip. Post a screenshot of your clip and let us know what adjustments you made to your clip to get them to match. Thanks for practicing. I hope you're enjoying this course so far and we'll see you in another lesson. 9. Thank You: thank you so much for enrolling in this module, and I hope you learned what you wanted to learn coming into it. If you're interested in moving forward with Adobe Premiere Pro, please check out the next module in this Siri's by clicking through the link in the course description or just by searching for the next module. Adobe Premiere Pro Masterclass Module number. Whatever module you're looking for on skill share, thanks so much and have a great day.